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Hanna oozes dopey Zen calm, sitting at his corner table, snorting blow in full view of the customers and staff.
In the film, he functions first and foremost as an entrypoint into a certain kind of behavior his whys are less important than his hows.Īt lunchtime in a tony restaurant, Belfort's first boss, Mark Hanna (Matthew McConaughey), shares with his newest employee the secret to stock-trading success: develop a cocaine habit and have at least two orgasms a day if you have to go to the bathroom to jerk off while at work, think about money.
The familiar Scorsese-coda loneliness registers, but it's only meaningful in context, and the fact is that -for all of its gonzo narrative and performative energy - Wolf doesn't seem to create much of a psychological context for Belfort.
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It's difficult to say whether The Wolf of Wall Street works as anything more than a series of comic set-pieces without bringing up the ending, which finds Belfort re-enacting an earlier scene from the film in a different tone of voice and with a new audience. All of the relationships the protagonist formed over the course of the film are now gone the hole he was trying to fill is all that he has left. They are deliberately off-rhythm, and reveal a sad emptiness which the protagonist has been hiding inside of himself all along. Whether it's Ace Rothstein staring out out from behind thick, grandpa-ish prescription sunglasses at the end of Casino, "schnook" Henry Hill grabbing his morning paper at the end of Goodfellas, or Howard Hughes repeating a phrase ("the way of the future") to his reflection at the end of The Aviator, these scenes feel disconnected from the narrative flow of the film. Scorsese's big, long, hopped-up movies have a tendency to end on abrupt minor notes. And yet, even while operating in this kind of low-power mode, Scorsese is able to pile on enough eccentric flourishes -hearing multiple characters' thoughts, monologues addressed directly to the viewer -to create a sense of narrative energy that plays off of DiCaprio's deranged lead performance. The music cues are eclectic even by the director's standards (the theme song from Goldfinger, Cypress Hill's "Insane in the Brain," the Foo Fighters' "Everlong"), but never gel with the action in any kind of significant way.
WATCH THE WOLF ON WALL STREET MOVIE
Surprisingly, the movie is less decadent style-wise than any of Scorsese's recent work, set mostly in offices and generic mansions lit with realistic, inexpressive flat whiteness. but Scorsese, DiCaprio, and screenwriter Terence Winter play him up as an overtly comic, ridiculous figure: a big-time brat, incapable of controlling his impulses, who runs his penny stock empire like a demented Greek-letter fraternity, entertaining his pledges / employees with competitions, marching bands, strippers, and rah-rah pep rallies. It wouldn't be too hard to turn Belfort's story into a tragic cautionary tale -a young man overwhelmed by the lure of sex, drugs, and power, etc. The Wolf of Wall Street-Martin Scorsese's first out-and-out comedy since After Hours -transforms the rise and fall of real-life stock swindler Jordan Belfort (Leonardo DiCaprio) into three hours of drug freak outs and privileged misbehavior. "For a brief, fleeting moment, I’d forgotten I was rich and lived in America."
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